Wednesday, July 20, 2016

Lights Out Review (2016)

In the new horror picture “Lights Out”—directed by David F
Sandberg and co written by Eric Heisserer and Sandberg—evil comes in the form
of Diana, a supernatural being powered by grief and anger, who resides in the
shadows. When the lights are on, you’re safe. When the lights go out, all bets
are off. It’s as easy as that. Of course that doesn’t mean Diana can’t cause
the power to inexplicably go out on occasion.

The simplicity of the film’s antagonist proves to be a
double edged sword.

On the bright side, it creates consistency in regards to
film continuity and the mythology it establishes.In other words, there aren’t any major rule
violations or narrative curveballs that signal lazy screenwriting. Diana can’t
ever do her thing when the lights are on. Additionally, Diana’s sensitivity to
light isn’t an empty gimmick-- there’s a legitimate reason that’s clearly
established and makes sense within the film’s logic.

At the same time, this simplicity leads to predictability
and repetitiveness in the scare department. “Lights Out” is powered by jump
scares. Well, mainly one style of jump scare repeated over and over. A
character sees Diana standing still in the dark. They turn the light on. She’s
gone. They turn the light off again and she’s closer. Then she attacks!

In general, I don’t like jump scares. I think they’re cheap
and lazy. One or two well-placed jump scares can sometimes be effective but too
often they’re overused. I prefer horror films that create a creepy, unnerving
atmosphere. Horror films that cause terror and paranoia to slowly build up in
the viewer until they become uncomfortable; terror and paranoia that sticks
with them long after the movie has ended. Jump scares go for the immediate jolt--
a feeling that quickly evaporates.

While there are a few well-placed jump scares in “Lights
Out,” there are simply too many and after a while you can see them coming from
a mile away. The last third of the pictures verges on silly and delirious
rather than unsettling and tense. Therefore, I can’t say I was all that scared
or uncomfortable during the film. This isn’t going to be one of those horror
films that stays with me over a long period of time.

And yet, there are still pleasures to be found--namely that
the filmmakers keep the human element in tact. Horror films aren’t exempt from
having strong characters. The action revolves around Rebecca (Theresa Palmer),
her younger brother Martin (Gabriel Bateman) and mother Sophie (Maria Bello).
They’re in grave danger because Diana has a special attachment to Sophie. The pictures
takes time to make these three into likable and multifaceted characters.
Rebecca is an intelligent and strong protagonist that constantly takes charge
and goes through a visible transformation at the end. Martin is resilient in
his own right and never gets on your nerves like some children in horror movies
do. Meanwhile, veteran actor Bello brings dimension and sympathy to the cliché
“crazy mother” character. On top of that, the filmmakers take time to establish
and develop the non-supernatural dilemmas that plague the family, such as the
tension and falling out between Rebecca and her mother. More than anything, Diana
is powered by the negative energy radiating off the human characters.

At eighty-one minutes, “Lights Out” is relatively free of
narrative fat. The filmmakers keep things tightknit and self-contained. There
aren’t any ghost hunters or psychics, or an overabundance of one-note victims.
Everything is wisely kept within the intimate sphere of the family. And the
film doesn’t overstay its welcome. With horror—the shorter and tighter the
movie is the better.

So far 2016 has been a strong year for horror. “The Witch,”
“The Wailing,” and “Green Room” are all exemplary pictures. “Lights Out”
doesn’t ascend to that level; it’s not as ambitious or thought provoking and
it’s certainly not as creepy or uncomfortable. Still, “Lights Out” is a decent
little horror flick that’s worth devoting an evening to.